4037 St. Claude Ave., New Orleans, LA 70117







UltraModerne: Anne Senstad
Opening: Sat Jan 14, 6 - 9 pm
Exhibition Dates: Jan 14 - Feb 5



With generous support from The Royal Norwegian Consulate General Houston




Ultramodernism, a term which Robert Smithson used in his writings tests the limits (etymologically, “ultra-” is an equivalent for “beyond”) of the autonomy of visual arts regarding meaning.
.- Yann Ricordel, The Infinite Referent

The window reminds us that we are captives of the room, by suggesting both flight and confinement... The meaning of the window makes one aware of absolute inertia or the perfect instant, when time oscillates in a circumscribed place. The window prevents movement by setting up a transparent barrier...
— Robert Smithson, Ultramoderne, 1967

The Pink Room Has No Walls 
- Anne Senstad, 2007

The exhibition UltraModerne offers a view of Anne Senstad’s discourse on perception and the phenomenology of light, color and space. These recent works consist of video installation, light and textile sculpture and photography that seek to examine immateriality and the experiential domain of the senses through processes of re-materialization, geometry and reinterpretation of form. Circling back to the source, there is a re-conceptualization , reconsideration and reinvestigation of inhabited space and the realms of essence and origin. All of the works in the exhibition are interconnected through a shared source; projections of light and color inhabiting space through time, a total removal of object and ontological experience of the sources. The title stems from Roberts Smithson’s text on the modernist city as representation of a non-objective world, pursuing what lies beyond the observable to find truths in nullification and antimatter.

Senstad’s geometric neon sculpture Soft Geometry # 011, derives from preparatory sketches for her reclaimed modernist sculpture series Universals, creating an illusion of object, volume and dimension. Soft Geometry is by way of light and color structuralizing and solidifying the inhabited corner one observes in projections and light beams. A soft geometric structure, where light expands providing contradictions of form.

There is a narration in the amalgamation of colors transpiring time and projected onto corners and walls in the video installation Color Synesthesia VII, where pure color fields exist between mind and matter. The video is the seventh in the video series with a composition by electronic sound pioneer and mathematician C.C.Hennix. In dialogue with the video installation, photographic works deriving from these very projections represent materialization of the immaterial non-object, arresting alogon and harnessing it onto the decisive moment’s celluloid surface of color film. Similarly the very same light and color immateriality creates the substance of the sculptural walls fabrics, objectifying and materializing that which cannot be held and re organizing light and color into folds of the physical, the ephemeral into entity and a phoneme shaping of time.

Anne Senstad is a multidisciplinary Norwegian artist based in New York. She was educated at Parsons School of Design and The New School for Social Research. Senstad works in the intersections of installation art, photography, video, neon sculptures and site specificity, anchored in the phenomenology of perception and the sensorial: light, sound and color. Her text based intervention works reference language, literature and philosophy by use of word play and re interpretation. In her performative and gestural cross-cultural interventions she seeks to rewrite histories of contested borders and marginalized cultures by raising awareness to preservation and empowerment.

Senstad produced multiple projects in New Orleans during post Katrina, 2007-2010, culminating in a 1,5 acre agricultural land art sculpture entitled The Sugarcane Labyrinth, in collaboration with Sugarcane farmer Ronny Waguespack Jr in Theriot, LA. The labyrinth emphasized the need for sustainability of Sugarcane farming as both a localized culture and industry as well as for bio fuel, consumption and preservation of wetlands through the soil binding effects of Sugarcane.

She has exhibited in the Venice Biennale in 2015 and 2013 and the Bruges Art and Architecture Triennale in Belgium in 2015. In 2017 she will again show in the Venice Biennale and at King Abdulaziz Center for World Culture in Saudi Arabia.

Her video work has been shown at Centre Pompidou, Haus Der Kultur Der Welt, Beirut Art Center, Lebanon, The Canadian Museum of Nature, Museum of Modern Art Ukraine, Dallas Aurora, Video Arte Internacional Buenos Aires, Oslo Screen Festival, Abu Dhabi Art Hub and ISEA Dubai 2014.

www.annesenstad.com










Our Mortal Souls: Generic Art Solutions
Opening: Sat Jan 14, 6 - 9 pm
Exhibition Dates: Jan 14 - Feb 5




About the exhibition:

Emperors, kings, dictators, and rulers of all sorts seek immortality through the hands of great sculptors; where their Egos are personified in marble or stone. It is typically a youthful image of themselves that they wish to have frozen in time, their idealized image for all to worship. A more contemporary attempt at image preservation is through Cryogenic suspension.  This process also intends to cheat death and preserve the soul, yet technology has yet to deliver those promises. These efforts are symptoms of our desire to arrest time and preserve what we will inevitably lose. Our planet suffers globe warming; its frozen poles melt, its seas rise and threaten our earth’s eternal equilibrium. Should we just let the future worry about itself, like the Cryogenic hope of a technological resurrection yet to be invented? Or are we to be the generation to witness our own undoing, where our only impulse is to store the present/self in digital graveyards – filled with the frozen moments of how we used to be?